Is Soylent the future of food? CEO Rob Rhinehart lived on his liquid invention for 30 days straight, and the feat propelled him to internet fame and fortune. So I decided to become the first person to repeat his feat—for a month straight, I'd try to live on nothing but the chemical cocktail, just like Rob. Along the way, I'd investigate the how an artificial food replacement might impact human health, Silicon Valley, and the world at large. This is the story of life after food.
Read more on MOTHERBOARD here: http://motherboard.vice.com/blog/soylent-no-food-for-30-days
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Wim Hof first caught the attention of scientists when he proved he was able to use meditation to stay submerged in ice for 1 hour and 53 minutes without his core body temperature changing. Since then, he’s climbed Mount Everest in his shorts, resisted altitude sickness, completed a marathon in the Namib Desert with no water and proven under a laboratory setting that he’s able to influence his autonomic nervous system and immune system at will.
Almost everything Wim has done was previously thought to be impossible - but he’s not a freak of nature.
To demonstrate that any human can learn his methods, Wim offered to teach Matt Shea and Daisy-May Hudson to climb a freezing cold mountain in their shorts without getting cold. But when Matt and Daisy signed up for the training, they had no idea that the so-called Iceman was planning to lead them on a psychedelic journey across Europe that circled the chasm between science, spirituality and mystery.
Sally Donatello - Photographer
Watch Next: The Giants of Iceland - http://bit.ly/1fJjOUL
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https://www.thevenusproject.com
Intro: 0:00
Part 1 6:16
Part 2 23:28
Part 3 47:03
Part 4 1:19:09
Produced/Directed by Roxanne Meadows and Joel Holt
Script by Roxanne Meadows
Editor Joel Holt, assisted by Roxanne Meadows & Nathanael Dinwiddie
Original Score by Kat Epple
This film series explores many aspects of our society. To rethink what is possible in our world, we need to consider what kind of world we want to live in. Although we refer to it as a civilization, it is anything but civilized. Visions of global unity & fellowship have long inspired humanity, yet the social arrangements up to the present have largely failed to produce a peaceful and productive world. While we appear to be technically advanced, our values and behaviors are not. The possibility of an optimistic future is in stark contrast to our current social, economic, and environmental dilemmas. The Choice Is Ours includes interviews with notable scientists, media professionals, authors, and other thinkers exploring the difficulties we face.
Part I provides an introduction and overview of cultural & environmental conditions that are untenable for a sustainable world civilization. It explores the determinants of behavior to dispel the myth of “human nature” while demonstrating how environment shapes behavior. The science of behavior is an important - yet largely missing - ingredient in our culture.
Part II questions the values, behaviors, and consequences of our social structures, and illustrates how our global monetary system is obsolete and increasingly insufficient to meet the needs of most people. Critical consideration of the banking, media, and criminal justice systems reveals these institutions for what they really are: tools of social control managed by the established political and economic elite. If we stay the present course, the familiar cycles of crime, economic booms & busts, war, and further environmental destruction are inevitable.
Part III explains the methods and potential of science. It proposes solutions that we can apply at present to eliminate the use of non-renewable sources of energy. It depicts the vision of The Venus Project to build an entirely new world from the ground up, a “redesign of the culture”, where all enjoy a high standard of living, free of servitude and debt, while also protecting the environment.
Part IV explains how it is not just architecture and a social structure that is in desperate need of change, but our values which have been handed down from centuries ago. They too need to be updated to our technological age, which has the potential to eliminate our scarcity-driven societies of today. Our problems are mostly of our own making, but we can still turn things around before the point of no return. It’s not too late for an optimistic outlook on the fantastic possibilities that lie before us.
Jacque Fresco-Futurist, Industrial Designer, Social Engineer, Founder of The Venus Project
Jeffrey A. Hoffman Ph.D. - Prof. Aeronautics & Astronautics MIT, Former NASA Astronaut
Henry Schlinger, Ph.D., BCBA-D - Prof. Psychology CAL State University
Abby Martin - Journalist & Host "The Empire Files"
Karen Hudes - Economist, Lawyer, World Bank Whistleblower
Erin Ade - Reporter & Host "Boom Bust" – RT
Paul Wright - Founder & Director of Human Rights Defense Center, Editor of Prison Legal News, Author
Dylan Ratigan - Author & TV Host "The Dylan Ratigan Show"
Mark Jacobson, Ph.D. - Prof. Civil & Env. Engineering, Stanford University. www.thesolutionsproject.org
Erik Brynjolfsson, Ph.D. - Prof. of Management-MIT Sloan School of Management, Dir. MIT Initiative on the Digital Economy, Author
Lawrence M. Krauss, Ph.D. - Foundation Prof. School of Earth and Space Exploration, and director of Origins Project, Arizona State University. Author "A Universe from Nothing".
Paul G. Hewitt - Author "Conceptual Physics"
Roxanne Meadows - Co-Founder The Venus Project
*special thanks also to Alexander "Obraz" ...Obraz.io who created the many 2d motion depictions (plus the sound fx!) of concepts such as the "hamburgers and fried chicken" segment and many others which are Alexander's inimitable work style and attention to details where we needed very specific illustrations of key points.
The Venus Project proposes an alternative vision of what the future can be if we apply what we already know in order to achieve a sustainable new world civilization. It calls for a straightforward redesign of our culture in which the age-old inadequacies of war, poverty, hunger, debt and unnecessary human suffering are viewed not only as avoidable but as totally unacceptable. Anything less will result in a continuation of the same catalog of problems inherent in today's world.
Learn more at http://www.thevenusproject.com
Support/donate to the project: https://www.thevenusproject.com/donations/
Become a volunteer:https://www.thevenusproject.com/become-a-volunteer/

Author Patrick Wood discusses his recent book "Technocracy Rising", in a 3-part interview. (Summary of parts, below) http://www.technocracyrising.com/
Patrick Wood is an author and lecturer who has studied elite globalization policies since the late 1970's, when he partnered with the late Antony C. Sutton to coauthor Trilaterals Over Washington, Volumes I and II. He remains a leading expert on the elitist Trilateral Commission, their policies and achievements in creating their self-proclaimed "New International Economic Order.”
An economist by education, a financial analyst and writer by profession and an American Constitutionalist by choice, Wood maintains a Biblical world view and has deep historical insights into the modern attacks on sovereignty, property rights and personal freedom. Such attacks are epitomized by the implementation of U.N. policies such as Agenda 21, Sustainable Development, Smart Growth and in education, the widespread adoption of Common Core.
Wood is a frequent speaker and guest on radio shows around the nation. His current research builds on Trilateral Commission hegemony, focusing on Transhumanism, Technocracy and scientism, and how these are co-opting economics, politics and religion around the world.
Part 1: Energy based Currency, Columbia University origins of Technocracy, Eugenics, Population Control, and Agenda 21, origins of Positivism and Scientism;
Part 2: Trilaterals, CFR, Rockefellers, U.N., 1992 Rio Conference, Agenda 21 and Trans-Pacific Partnership (TPP);
Part 3: Wood's work with Antony C. Sutton, the Origins of the Trilateral Commission, Trilaterals and Larry King, and how the Trilateral Commission influenced the U.S. Govt. since 1973 to present day. Thanks to Ernie & Donna Hancock at FreedomsPhoenix.com for the use of their studio, and to Rick Malchow for his assistance in bringing you this interview.

http://www.ted.com Every day, we make decisions that have good or bad consequences for our future selves. (Can I skip flossing just this one time?) Daniel Goldstein makes tools that help us imagine ourselves over time, so that we make smart choices for Future Us.
TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes. Featured speakers have included Al Gore on climate change, Philippe Starck on design, Jill Bolte Taylor on observing her own stroke, Nicholas Negroponte on One Laptop per Child, Jane Goodall on chimpanzees, Bill Gates on malaria and mosquitoes, Pattie Maes on the "Sixth Sense" wearable tech, and "Lost" producer JJ Abrams on the allure of mystery. TED stands for Technology, Entertainment, Design, and TEDTalks cover these topics as well as science, business, development and the arts. Closed captions and translated subtitles in a variety of languages are now available on TED.com, at http://www.ted.com/translate

Join us with Session 19 of our updated and fully remastered version of 'Learn the Bible in 24 Hours' with Dr Chuck Missler
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NOTE 1: I neither own this video nor the translation. The translation was collected from the internet, and it already in torrent package. I'm sorry for losing the torrent file so I can't credit the torrent & translation part.
NOTE 2: Since I do not own those subs, so I can't make sure if it correct or not. But you are welcome to correct it.
Torrent download.
Resolution: 1280x720
Multi Subs: English, French, Russian, Italian, Spanish, Turkish, Czech, Hungarian.

Best quality of Esoteric Agenda on Youtube 480p (dont fall for fake HD claims you cant rip a DVD in HD)
(Subtitles in eng, ger, spa, est, heb, lav, pol, fre, por, hrv, cze, rum, srp)
There is an Esoteric Agenda behind every facet of life that was once believed to be disconnected. There is an Elite faction guiding most every Political, Economic, Social, Corporate, some Non-Governmental or even Anti-Establishment Organizations. This film uses the hard work and research of professionals in every field helping to expose this agenda put the future of this planet back into the hands of the people.
Subtitles in: Bulgarian, Czech, German, English (United States), Estonian, French, Croatian, Hebrew, Latvian, Polish, Portuguese (Brazil), Romanian, Serbian
I got permission from the author to post this, the DVD is available on http://talismanicidols.net

The Stronger (Swedish: Den starkare) is a famous 1889 play by August Strindberg. The play is quite short, consisting of only one scene that can be performed in approximately 10 minutes. The characters consist of only two women: a "Mrs. X" and a "Miss. Y", only one of whom speak, an example of a dramatic monologue. It was adapted into a 1952 opera by composer Hugo Weisgall and there have been numerous film and television adaptations of the work. It has also been expanded and adapted into a forty-minute English-language zarzuela with a Madrid setting by Derek Barnes (2010), with text by Christopher Webber.
http://en.wikipedia.org/wiki/The_Stronger
Johan August Strindberg (22 January 1849 -- 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.[2][3][4] A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics.[5] A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques.[6][7] From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film.[8] He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.[9][10]
In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright.
The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.[2][11] In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that -- building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play — responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887).[12] In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasised.[13] Strindberg modelled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.[14]
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.[15] A series of psychotic attacks between 1894 to 1896 (referred to as his "Inferno crisis") led to his hospitalisation and return to Sweden.[15] Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult."[16] In 1898 he returned to playwriting with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.[17] His A Dream Play (1902) — with its radical attempt to dramatise the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters -- was an important precursor to both expressionism and surrealism.[18] He also returned to writing historical drama, the genre with which he had begun his playwriting career.[19] He helped to run the Intimate Theatre from 1907, a small-scale theatre, modelled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata).
http://en.wikipedia.org/wiki/August_Strindberg

After Miller's death, John Mottley (1692--1750) brought out a book called Joe Miller's Jests, or the Wit's Vade-Mecum (1739), published under the pseudonym of Elijah Jenkins Esq. at the price of one shilling. This was a collection of contemporary and ancient coarse witticisms, only three of which are told of Miller. This first edition was a thin pamphlet of 247 numbered jokes. This ran to three editions in its first year.
Later (not wholly connected) versions were entitled with names such as "Joe Miller's Joke Book", and "The New Joe Miller" to latch onto the popularity of both Joe Miller himself and the popularity of Mottley's first book. It should be noted that joke books of this format (i.e. "Mr Smith's Jests") were common even before this date. It was common practice to learn one or two jokes for use at parties etc.
Owing to the quality of the jokes in Mottley's book, their number increasing with each of the many subsequent editions, any time-worn jest came to be called "a Joe Miller", a Joe-Millerism, or simply a Millerism.
Joke 99 states:
A Lady's Age happening to be questioned, she affirmed she was but Forty, and called upon a Gentleman that was in Company for his Opinion; Cousin, said she, do you believe I am in the Right, when I say I am but Forty? I ought not to dispute it, Madam, reply'd he, for I have heard you say so these ten Years.
Joke 234 speaks of:
A famous teacher of Arithmetick, who had long been married without being able to get his Wife with Child. One said to her 'Madam, your Husband is an excellent Arithmetician'. 'Yes, replies she, only he can't multiply.'
Joe Miller was referred to in Charles Dickens' A Christmas Carol (1843), by the character Scrooge, who remarks "Joe Miller never made such a joke as sending [the turkey] to Bob's will be!"
Joe Miller was also referred to in James Joyce's "Ulysses" (1922) in the limerick that Lenehan whispers during the Aeolus episode to Stephen Dedalus, the last line of which is "I can't see the Joe Miller. Can you?".
According to Leonard Feinberg, the 1734 edition contains one of the oldest examples of gallows humor.
http://en.wikipedia.org/wiki/Joe_Miller%27s_Joke_Book

The aim for thrillers is to keep the audience alert and on the edge of their seats. The protagonist in these films is set against a problem -- an escape, a mission, or a mystery. No matter what sub-genre a thriller film falls into, it will emphasize the danger that the protagonist faces. The tension with the main problem is built on throughout the film and leads to a highly stressful climax. The cover-up of important information from the viewer, and fight and chase scenes are common methods in all of the thriller subgenres, although each subgenre has its own unique characteristics and methods.[8]
A thriller provides the sudden rush of emotions, excitement, sense of suspense and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace thrills. In this genre, the objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. It keeps the audience cliff-hanging at the "edge of their seats" as the plot builds towards a climax. Thrillers tend to be fast-moving, psychological, threatening, mysterious and at times involve larger-scale villainy such as espionage, terrorism and conspiracy.
Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it "thrills", it is a thriller. As the introduction to a major anthology explains:
" ...Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job. "
—James Patterson, June 2006, "Introduction," Thriller[9]
Writer Vladimir Nabokov, in his lectures at Cornell University, said: "In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine."
http://en.wikipedia.org/wiki/Suspense_thriller

Peter's Z-Day 2010 lecture on Social Pathology (2010-03-13).
Embedding & sharing is highly encouraged.
Note: Linguistic Team International is the official all-volunteer translation house for The Venus Project and The Zeitgeist Movement. This Repository location contains only fully proofread versions of the transcript & its derived translations, crafted with care by LTI Language Teams. More languages are added as they are completed.
If your language is not yet represented here, consider helping these translation efforts by joining your respective language team at the LTI Forum:
https://forum.linguisticteam.org
To learn more:
https://www.thevenusproject.com
https://resourcebasedeconomy.org
https://thezeitgeistmovement.com

The Battle of the Coral Sea, fought from 4--8 May 1942, was a major naval battle in the Pacific Theater of World War II between the Imperial Japanese Navy and Allied naval and air forces from the United States and Australia. The battle was the first action in which aircraft carriers engaged each other, as well as the first in which neither side's ships sighted or fired directly upon the other.
In an attempt to strengthen their defensive positioning for their empire in the South Pacific, Imperial Japanese forces decided to invade and occupy Port Moresby in New Guinea and Tulagi in the southeastern Solomon Islands. The plan to accomplish this, called Operation MO, involved several major units of Japan's Combined Fleet, including two fleet carriers and a light carrier to provide air cover for the invasion fleets, under the overall command of Shigeyoshi Inoue. The U.S. learned of the Japanese plan through signals intelligence and sent two United States Navy carrier task forces and a joint Australian-American cruiser force, under the overall command of American Admiral Frank J. Fletcher, to oppose the Japanese offensive.
On 3--4 May, Japanese forces successfully invaded and occupied Tulagi, although several of their supporting warships were surprised and sunk or damaged by aircraft from the U.S. fleet carrier Yorktown. Now aware of the presence of U.S. carriers in the area, the Japanese fleet carriers entered the Coral Sea with the intention of finding and destroying the Allied naval forces.
Beginning on 7 May, the carrier forces from the two sides exchanged airstrikes over two consecutive days. The first day, the U.S. sank the Japanese light carrier Shōhō, while the Japanese sank a U.S. destroyer and heavily damaged a fleet oiler (which was later scuttled). The next day, the Japanese fleet carrier Shōkaku was heavily damaged, the U.S. fleet carrier Lexington was critically damaged (and was scuttled as a result), and the Yorktown was damaged. With both sides having suffered heavy losses in aircraft and carriers damaged or sunk, the two fleets disengaged and retired from the battle area. Because of the loss of carrier air cover, Inoue recalled the Port Moresby invasion fleet, intending to try again later.
Although a tactical victory for the Japanese in terms of ships sunk, the battle would prove to be a strategic victory for the Allies for several reasons. Japanese expansion, seemingly unstoppable until then, was turned back for the first time. More importantly, the Japanese fleet carriers Shōkaku and Zuikaku -- one damaged and the other with a depleted aircraft complement -- were unable to participate in the Battle of Midway, which took place the following month, ensuring a rough parity in aircraft between the two adversaries and contributing significantly to the U.S. victory in that battle. The severe losses in carriers at Midway prevented the Japanese from reattempting to invade Port Moresby from the ocean. Two months later, the Allies took advantage of Japan's resulting strategic vulnerability in the South Pacific and launched the Guadalcanal Campaign that, along with the New Guinea Campaign, eventually broke Japanese defenses in the South Pacific and was a significant contributing factor to Japan's ultimate defeat in World War II.
http://en.wikipedia.org/wiki/Battle_of_the_Coral_Sea

Aiding and abetting the periodically frantic life in the Gildersleeve home was family cook and housekeeper Birdie Lee Coggins (Lillian Randolph). Although in the first season, under writer Levinson, Birdie was often portrayed as saliently less than bright, she slowly developed as the real brains and caretaker of the household under writers John Whedon, Sam Moore and Andy White. In many of the later episodes Gildersleeve has to acknowledge Birdie's commonsense approach to some of his predicaments. By the early 1950s, Birdie was heavily depended on by the rest of the family in fulfilling many of the functions of the household matriarch, whether it be giving sound advice to an adolescent Leroy or tending Marjorie's children.
By the late 1940s, Marjorie slowly matures to a young woman of marrying age. During the 9th season (September 1949-June 1950) Marjorie meets and marries (May 10) Walter "Bronco" Thompson (Richard Crenna), star football player at the local college. The event was popular enough that Look devoted five pages in its May 23, 1950 issue to the wedding. After living in the same household for a few years with their twin babies Ronnie and Linda, the newlyweds move next door to keep the expanding Gildersleeve clan close together.
Leroy, aged 10--11 during most of the 1940s, is the all-American boy who grudgingly practices his piano lessons, gets bad report cards, fights with his friends and cannot remember to not slam the door. Although he is loyal to his Uncle Mort, he is always the first to deflate his ego with a well-placed "Ha!!!" or "What a character!" Beginning in the Spring of 1949, he finds himself in junior high and is at last allowed to grow up, establishing relationships with the girls in the Bullard home across the street. From an awkward adolescent who hangs his head, kicks the ground and giggles whenever Brenda Knickerbocker comes near, he transforms himself overnight (November 28, 1951) into a more mature young man when Babs Winthrop (both girls played by Barbara Whiting) approaches him about studying together. From then on, he branches out with interests in driving, playing the drums and dreaming of a musical career.
http://en.wikipedia.org/wiki/Great_Gildersleeve

The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (Oct. 22, 1940).
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
http://en.wikipedia.org/wiki/Great_Gildersleeve

Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name.
Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School.
Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win.
Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags.
Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections.
Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts.
Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty.
Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend.
Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks.
Jacques Monet (Gerald Mohr), a French teacher.
Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.
Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try.
Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very "feline" in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews.
Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton," she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.
For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended.
http://en.wikipedia.org/wiki/Our_Miss_Brooks

There were several variations of program introductions. A typical early opening is this from April 27, 1943:
(MUSIC ... BERNARD HERRMANN'S SUSPENSE THEME ... CONTINUES IN BG)
THE MAN IN BLACK: Suspense!
This is The Man in Black, here again to introduce Columbia's program, Suspense.
Our stars tonight are Miss Agnes Moorehead and Mr. Ray Collins. You've seen these two expert and resourceful players in "Citizen Kane" - "The Magnificent Ambersons" in which Miss Moorehead's performance won her the 1942 Film Critics' Award. Mr. Collins will soon be seen in the Metro-Goldwyn-Mayer Technicolor film, "Salute to the Marines."
Miss Moorehead and Mr. Collins return this evening to their first love, the CBS microphone, to appear in a study in terror by Lucille Fletcher called "The Diary of Sophronia Winters."
The story told by this diary is tonight's tale of... suspense. If you've been with us on these Tuesday nights, you will know that Suspense is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution... until the last possible moment. And so it is with "The Diary of Sophronia Winters" and the performances of Agnes Moorehead and Ray Collins, we again hope to keep you in...
(MUSIC: ... UP, DRAMATICALLY)
THE MAN IN BLACK: ... Suspense!
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29

John Foster "Chip" Berlet (born November 22, 1949) is an American investigative journalist and photojournalist activist specializing in the study of right-wing movements in the United States, particularly the religious right, white supremacists, homophobic groups, and paramilitary organizations. He also studies the spread of conspiracy theories in the media and on the Internet, and political cults on both the right and left of the political spectrum.
He was a senior analyst at Political Research Associates (PRA), a non-profit group that tracks right-wing networks, and is known as one of the first researchers to have drawn attention to the efforts by white supremacist and anti-Semitic groups to recruit farmers in the Midwestern United States in the 1970s and 1980s. He is the co-author of Right-Wing Populism in America: Too Close for Comfort and editor of Eyes Right! Challenging the Right Wing Backlash.
Berlet, a paralegal, was a vice-president of the National Lawyers Guild. He has served on the advisory board of the Center for Millennial Studies at Boston University, and currently sits on the advisory board of the National Committee Against Repressive Legislation. In 1982, he was a Mencken Awards finalist in the best news story category for "War on Drugs: The Strange Story of Lyndon LaRouche," which was published in High Times. He served on the advisory board of the Campaign to Defend the Constitution. He was affiliated with Chicago Area Friends of Albania.
The most recent of Berlet's three books, co-authored with Matthew N. Lyons, is Right-Wing Populism in America: Too Close for Comfort, published in 2000 by The Guilford Press. It is a broad historical overview of right-wing populism in the United States.
The book received generally favorable reviews. Library Journal said it was a "detailed historical examination" that "strikes an excellent balance between narrative and theory." The New York Review of Books described it as an excellent account describing the outermost fringes of American conservatism. A review by Jerome Himmelstein in the journal Contemporary Sociology said that "it offers more than a scholarly treatise on the activities of the Third Reich", that it provides a background to help the reader understand the Holocaust and that it "merits close attention from scholars of the political right in America and of social movements generally."
Robert H. Churchill of the University of Hartford criticized Berlet and other authors writing about the right wing as lacking breadth and depth in their analysis.
In articles, Berlet has argued that the United States is currently undergoing a right-wing backlash that is the most sustained of its kind in U.S. history. He argues that although 95% of the US's hate crimes are committed by people not affiliated with any group, they have nevertheless internalized a narrative developed and promoted by the right wing that demonizes certain groups, including blacks and gays. He argues that the left must develop coalitions to find a way to counter-balance these narratives, instead of becoming isolated as another side of the "lunatic fringe".
In ZOG Ate My Brains, Berlet warned of a "troubling resurgence on the political Left" of anti-Semitic conspiracy theories that undermine the effort of progressives to bring about social change.
Berlet has provided "research assistance" to a campaign run by the mother of Jeremiah Duggan to reopen the investigation into his death. The British student died in disputed circumstances near Wiesbaden, Germany. Berlet's statement suggests that the LaRouche movement bears responsibility.
http://en.wikipedia.org/wiki/Chip_Berlet

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Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
http://en.wikipedia.org/wiki/The_Great_Gildersleeve

Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping

Often the two overlap. However, pure crime films/novels focus on a specific crime or set of crimes, and solving the mystery or tracking down the criminal(s), with no or little violence but more drama throughout. Thrillers are usually fiction-based and fast in pace, while crime fiction tend to be more leisurely paced, dramatic and realistic. Generally, violence is also lacking in a crime fiction, but this depends if the work is based on the mafia, where violence is intense.[17]
Some crime films showcase more on the gangster life, personal drama of the criminals and even their biographical film (i.e., The Godfather). Crime-thrillers, on the other hand, have more threat and suspense in them and may involve espionage (spying), frequent killings and other non-criminal conflicts (i.e., Heat). Unlike crime thrillers, crime films usually offer a more serious, grim and realistic portrayal of the criminal environment, emphasizing character development and complex narratives over suspense sequences, chase scenes and violence.[18]
In crime fiction, the hero might be a police officer, or a private eye, who can still be tough and resourceful. He is pitted against villains determined to destroy him, although, unlike in thrillers, not necessarily other people, the country or the stability of the free world. Unlike in crime fiction, thrillers keep the emphasis away from the gangster, melodrama or the detective in the crime-related plot, and rather focus more on the suspense and danger that is generated.
http://en.wikipedia.org/wiki/Thriller_%28genre%29

Interviewees:
Princess Alexandra Kropotkin, Russian emigre, author
Charles B. Brownson, U.S. Representative from Indiana
Christian Herter, American politician and statesman
Clifford P. Case, American lawyer and politician
Franklin Delano Roosevelt, Jr., American politician
Frederic René Coudert, Jr., Representative from New York
Franklin Delano Roosevelt, Jr. (August 17, 1914 -- August 17, 1988) was an American politician. He was the fifth child of U.S. President Franklin D. Roosevelt, Sr. and his wife Eleanor.
He was a Naval officer in World War II and was decorated for bravery in the battle of Casablanca.
He graduated from Groton School in 1933, Harvard University in 1937, and from the University of Virginia School of Law in June 1940. During his graduation, his father, Franklin D. Roosevelt gave what is known as the "Stab in the Back" Speech, criticizing Italy's entry into the war.
Roosevelt Jr. served as a member of the United States Congress, representing the 20th District of New York from 1949 to 1955. In 1949, he won a special election running as a candidate of the Liberal Party of New York and later ran on the Democratic ticket as well.
He sought the Democratic nomination for Governor in 1954, but, after persuasion by powerful Tammany Hall boss Carmine DeSapio, abandoned his bid for Governor was nominated by the Democratic State Convention to run for New York State Attorney General. Roosevelt was defeated in the general election by Republican Jacob K. Javits, although all other Democratic nominees were elected. Following his loss, Eleanor Roosevelt began building a campaign against the Tammany Hall leader that eventually forced DeSapio to step down from power in 1961.
He campaigned for John F. Kennedy in the 1960 West Virginia primary, falsely accusing Kennedy's opponent, Hubert Humphrey of having dodged the draft in World War II. Kennedy later named him Under-Secretary of Commerce and chairman of the President's Appalachian Regional Commission. This post (Under-Secretary of Commerce) was given to him when Defense Secretary Robert McNamara shot down the proposal of his appointment as Secretary of Navy.
He ran for Governor of New York on the Liberal Party ticket in 1966, but was defeated by the incumbent Republican Nelson A. Rockefeller.
He served as chairman of the Equal Employment Opportunity Commission from May 26, 1965 to May 11, 1966.
He was senior partner in the New York law firm of Roosevelt and Freiden before and after his service in the Congress.
He also ran a small cattle farm and imported Fiat automobiles. (He was a personal friend of Fiat chairman Gianni Agnelli).
http://en.wikipedia.org/wiki/Franklin_Delano_Roosevelt,_Jr.

The Los Angeles Police Department (LAPD) is the police department of the city of Los Angeles, California.
The LAPD has been copiously fictionalized in numerous movies, novels and television shows throughout its history. The department has also been associated with a number of controversies, mainly concerned with racial animosity, police brutality and police corruption.
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role.
The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station.
Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay.
Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel.
The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach.
http://en.wikipedia.org/wiki/LAPD